The Way to Slay Wagner’s Dragon

‘Siegfried’ at Metropolitan Opera House

In Wagner’s “Siegfried” the young title hero eventually learns the meaning of fear. It seems believable that he manages to emerge confidently from his encounter with the cartoonish dragon of Robert Lepage’s staging, which returned to the Metropolitan Opera on Saturday afternoon with Jay Hunter Morris in the role. That he succumbs to fear in the final scene, however, seemed less credible.

Mr. Morris offered a solid, admirable performance of this grueling role, which requires tremendous stamina and courage. His voice sometimes had a gruff quality, but it took on more lyrical sheen and expressive timbre when Siegfried muses about his parents in Act II. Youthful and athletic, his physicality conveyed the character’s boisterous, belligerent persona.

But the long Act III duet between Siegfried and Brünnhilde lacked a crucial chemistry, seeming more like a perfunctory blind date than a burgeoning love so intense that Siegfried finally discovers how it feels to be afraid. Deborah Voigt sang with more confidence as the scene unfolded, but she often sounded unsteady and underpowered, with some pitch problems. The only real warmth seemed to come from the images of flames lapping around Brünnhilde’s rock.

These projected digital images are the most alluring aspect of Mr. Lepage’s staging. There are many visually striking moments in this “Siegfried,” including the deep-hued greens of the lush Act II forest, where 3-D birds flit among the trees — including the bright yellow Forest Bird, beautifully sung from offstage by Lisette Oropesa.

Photo

Siegfried Jay Hunter Morris sings the title role at the Metropolitan Opera House in the Robert Lepage production of this Wagner opera.Credit
Cory Weaver/Metropolitan Opera

A waterfall turns blood-red after Siegfried kills the dragon Fafner, sung with aplomb by Hans-Peter König. A digital dragon might have been less chuckle-inducing than the low-budget, fang-toothed serpent that emerged here like a Wagnerian Jaws.

The much-maligned 45-ton machine had no noticeable mishaps, barring the creaks and squeaks that added annoying sound effects as the movable planks lumbered into position during the prelude. In the opening scene the planks have the strange effect of rendering the lower legs of Mime and Siegfried invisible.